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Bringing Art to Life
Only thirty-nine when he took over the National Gallery in 1955, Jarvis already had an extraordinary record of achievement and social mobility at home and in England: he had trained with Canada's greatest artists, won a Rhodes scholarship, lunched at the Algonquin Round Table in New York, managed an aircraft factory, written a bestseller, produced films, run a slum settlement, and moved in a London social circle that included Noël Coward and Vivien Leigh. As head of the National Gallery, Jarvis was a provocative public educator, advocating his idea of "a museum without walls" in countless public appearances. Instrumental in bringing modern art to the National Gallery, he shook artists and the art-minded public out of a period of national complacency. This first detailed account of the controversy surrounding his time at the gallery provides an important context for the ongoing and contested role of publicly supported arts and art institutions in this country.
Alan's Big, Scary Teeth
“Jarvis strikes a brisk, matter-of-fact tone that’s spot-on. . . . His pictures are . . . gorgeous—and thanks to his accomplished cartooning, they’re funny, too.” —Publishers Weekly (starred review) Deep in the jungle lurks Alan the alligator, descended from a long line of very scary alligators. He prepares carefully—polishing his scales, brushing each of his big, scary teeth, and practicing his frightening faces—then sneaks into the jungle to terrorize the other critters. But after a long day of scaring, Alan loves to enjoy the crossword, run a warm mud bath . . . and take out his teeth, which nobody else knows are false. Until one morning, that is, when Alan wakes up and finds that his teeth are gone! Without those teeth, he’s just not very scary. And scaring is the only thing he knows how to do—or is it? Witty, charming, and playful storytelling in this 2017 Charlotte Zolotow Honor Book will have preschoolers cheering for Alan as he discovers a new way to fit in.
The National Gallery of Canada
"The National Gallery of Canada: Ideas, Art, and Architecture examines the National Gallery as an institution, a collection, and a series of sites for the display of the nation's art. Douglas Ord explores how, throughout the gallery's development, art has consistently been linked to notions of religious truth, national spirit, and hallowed atmosphere, culminating in Moshe Safdie's design for the institution's current building. Integrating accounts of political intrigue and public controversy with philosophy, art theory, and architectural analysis, Ord provides vivid accounts of successive directors' struggles to obtain a permanent home for the nation's art and sheds light on the place and the role of art in Canada."--Résumé de l'éditeur.
Mrs Mole, I'm Home!
Synopsis coming soon.......
Crafting Identity
"By contrasting American experience with the Canadian context, which includes a unique Quebec identity and a Native dimension, Sandra Alfoldy argues that the development of organizations, advanced education for craftspeople, and exhibition and promotional opportunities have contributed to the distinct evolution of professional craft in Canada over the past forty years. Alfoldy focuses on 1964-74 and the debates over distinctions between professional, self-taught, and amateur craftspeople and between one-of-a-kind and traditional craft objects. She deals extensively with key people and events, including American philanthropist Aileen Osborn Webb and Canadian philanthropist Joan Chalmers, the foundation of the World Crafts Council (1964) and the Canadian Crafts Council (1974), the Canadian Fine Crafts exhibition at Expo 67, and the In Praise of Hands exhibition of 1974. Drawing upon a wealth of previously unexploited materials, this richly documented survey includes descriptions and illustrations of significant works and identifies the challenges that lie ahead for professional crafts in Canada."--Pub. desc
The Godmother
'An engaging, emotionally-charged and intriguing story' Michelle Gorman ‘Stop trying to be brave all the time, Rachel. Fear is a necessary part of being alive. Sometimes we have to let it show. We have to own up to it or it drives us mad.’ Rachel Elliot is single and attractive, a director of a successful advertising agency, with a handsome lover, close friends, and a clutch of beloved godchildren. But as her fortieth birthday approaches, so does a whispering fear that she might have missed the point... Almost imperceptibly over the years her friends and contemporaries have settled down and started families. Rather less subtly her parents have been urging Rachel to do the same. Managing ...
Objects in Context: Theorizing Material Culture
Objects in Context: Theorizing Material Culture brings together a group of diverse essays originating from a graduate student conference held at Western University in 2013 entitled (Re)Activating Objects: Social Theory and Material Culture. With over 100 delegates from across Canada and the United States, the conference's vision was to investigate the ways that material culture provides a lens to examine the structures of our socio-cultural-economic worlds. As such, this publication provides interdisciplinary approaches to a wide range of fundamental and theoretical questions about social constructions, social politics, and social ethics. The contributing scholars offer critical approaches which 'activate' objects that are under-theorized and/or 'reactivate' objects with shifting or multiple ideologies. Ultimately, the papers within this volume address the broad-ranging question, what can objects tell us about the worlds in which we live?
Policy Matters
"In this book Clive Robertson examines the subject of arts administration through the three major topics of 'artist-run culture as movement and apparatus', 'custody battles with/at the Canada Council' and Carings for art and culture'. Includes interviews with Paule Leduc, Roch Carrier, Edythe Goodriche, and Bruce Russell." -- From Art Metropole website (viewed 23 May 2018).
Painting Place
A biography of one of Canada's greatest artists, lavishly illustrated and based on years of research by a leading historian. David Milne (1882-1952) is recognized as one of the most innovative and original artists of his generation.
Everybody Was So Young
New York Times Bestseller: “A marvelously readable biography” of the couple and their relationships with Picasso, Fitzgerald, and other icons of the era (The New York Times Book Review). Wealthy Americans with homes in Paris and on the French Riviera, Gerald and Sara Murphy were at the very center of expatriate cultural and social life during the modernist ferment of the 1920s. Gerald Murphy—witty, urbane, and elusive—was a giver of magical parties and an acclaimed painter. Sara Murphy, an enigmatic beauty who wore her pearls to the beach, enthralled and inspired Pablo Picasso (he painted her both clothed and nude), Ernest Hemingway, and F. Scott Fitzgerald. The models for Nicole and...
